Evan Rachel Wood and Rumer Willis are teaming up for a cabaret show based on the films of John Hughes.
The actresses will star in For the Record: Dear John Hughes, alongside Tracie Thoms and Lindsey Gort. The musical will run from 6 February (15) to 4 April (15) at a West Hollywood theatre to be confirmed. For the Record will mark the 30th anniversary of Hughes' Brat Pack movie The Breakfast Club. The Hughes tribute will simultaneously play in Chicago, Illinois - the director's home town.

The Oscars are supposed to be a barometer for greatness in the movie industry, but sometimes the Academy just misses the mark. Think about it: Three Six Mafia has an Oscar, but Leonardo DiCaprio does not. Snubs inevitably happen every year and some are more egregious than others. As we prepare for the next batch of nominations, let us reflect on some of the biggest snubs that still have us scratching our heads.
1. Leonardo DiCaptio in The Departed
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Leo has been nominated a lot, we know this, but he was at his best in this Martin Scorsese flick. It still pains us that this wasn’t his year.
2. Leonardo DiCaprio in Revolutionary Road
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We thought Leo/Kate Winslet reunion would equal Oscar magic. But alas, it was not to be.
3. Leonardo DiCaprio in Catch Me If You Can
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We still love this movie and think he was fantastic as con man Frank Abagnale Jr. Technically he played more than character, as Frank faked his way into becoming an airline pilot, a doctor and a lawyer.
4. Leonardo DiCaprio in The Aviator
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Last Leo one, we promise. But man did he do a good job playing Howard Hughes’ descent into madness.
5. Brokeback Mountain
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With the exception of Ang Lee winning for Best Director, Brokeback Mountain got completely shut out of the Oscars. Crash beat it for Best Picture in an upset, and Heath Ledger, Jake Gyllenhaal and Michelle Williams all inexplicably lost in their categories despite delivering amazing performances.
6. Alfred Hitchcock
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Can you believe the Master of Suspense never won an Oscar for directing? Despite all of his directing techniques that are now famous, poor Hitch never got Oscar recognition. Couldn’t they have at least given him the Best Cameos in All His Films award?
7. James Dean
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We expect that if James Dean had lived longer than his young 24 years, he would have taken home Oscar gold. But the impressive trifecta of films he made during his much-too-short career (A Rebel Without a Cause, East of Eden and Giant) are enough to make us sad he never won.
8. Saving Private Ryan
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This Steven Spielberg wartime epic starring Tom Hanks was beat out for Best Picture by Shakespeare in Love. Rumblings have indicated power producer Harvey Weinstein’s purse strings – rather than the film’s merit - are what actually got Shakespeare the gold.
9. Marilyn Monroe
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The iconic bombshell never got to make a breathy Oscar acceptance speech. She was probably most deserving for her part in Some Like It Hot, but it just wasn't in the cards.
10. Amy Adams
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Doesn’t it seem like she gets nominated every year? She’s like the female Leonardo DiCaprio at this point. She was great in The Fighter and she was our favorite part of American Hustle last year. Such a shame.
11. Robert Redford
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Redford, aka the Brad Pitt before Brad Pitt, has never won an Oscar for acting. He nabbed one in 1981 for directing Ordinary People and got a Lifetime Achievement award in 2002, but the founder of the Sundance Film Festival was never acknowledged for the talent that made him famous.
12. Paul Newman for The Hustler
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It took Paul Newman way too long to claim his Oscar glory. He was notoriously snubbed all throughout his prime years – most notably for The Hustler in 1962. The Academy finally gave him an honorary award in 1986 and then a Best Actor Oscar in 1987 for his role in the subpar sequel to The Hustler - The Color of Money.
13. Citizen Kane
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This film has been number one on so many AFI Greatest Movies of All Time lists that we kind of just assumed it had won the Oscar for Best Picture. Not so. The Orson Welles masterpiece was beat out by How Green Was My Valley, a movie about a Welsh mining village.
14. Michael Fassbender in Shame
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When you put aside the jokes about "best performance by a penis in a movie," you’ll realize that Fassbender actually turns in an Oscar-worthy performance in Shame (clothed or unclothed). We’ll give him time though – we think a statuette is in his future.
15. Ewan McGregor
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Ewan (or as we like to call him: every straight man’s mancrush) has turned in some brilliant work over the years – like his roles in Beginners and The Impossible. But sadly it seems it wasn’t enough to catch the Academy’s attention.
16. Johnny Depp
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Johnny Depp does not have an Oscar. We repeat: Johnny Depp does not have an Oscar. How can the guy who played iconic characters in Edward Scissorhands, Pirates of the Caribbean, and Finding Neverland be lacking a trophy, you ask? It’s a mystery for the ages.
17. Jessica Chastain
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Remember when Jessica Chastain had like a million movies come out in 2011? In luckier years, we think at least ONE of those would have gotten her a win. Maybe 2015 will be her year.
18. Keira Knightley in Pride &amp; Prejudice
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Reese Witherspoon beat her out that year for Walk the Line, but Keira would have had our vote for her pitch perfect portrayal of Jane Austen heroine Elizabeth Bennett.
19. Atonement
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Talk about a beautifully made film. It even won the Golden Globe for Best Drama that year, which is usually a sign that an Oscar imminent. Nope. No Country for Old Men took it instead. Guess nothing beats a Coen Brothers film with an ambiguous ending.
20. Short Term 12
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If you've seen this gem of an indie movie starring a riveting Brie Larson, you'll understand why this was a major snub. It was one of the best movies of 2013, but presumably because it was so small, it didn't get any awards love. Travesty.
21. Mary Elizabeth Winstead in Smashed
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Another small movie, but a huge Oscar-worthy performance by Winstead as a young wife coming to terms with sobriety. Or at least worthy of a nomination. Pay better attention, Academy!
Who do YOU think has been snubbed? Tell us on Twitter by following the links below!
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Australian cricketer Phil Hughes has died at the age of 25, two days after he was hospitalised with a severe head injury. The sportsman collapsed after he was hit on the head by a ball during a match in Sydney, Australia on Monday (24Nov14). He was treated on the ground before being rushed to St. Vincent's Hospital.
Hughes, who was wearing a helmet at the time of the freak accident, underwent surgery to treat a cerebral haemorrhage and was placed in an induced coma.
He did not regain consciousness and died on Thursday (27Nov14).
Australia team captain Michael Clarke read a statement on behalf of Hughes' family, saying, "We are devastated by the loss of our much loved son and brother Phillip. It's been a very difficult few days. We appreciate all of the support that we have received from family, friends, players, Cricket Australia and the general public.
"Cricket was Phillip's life and we as a family shared that love of the game with him. We'd like to thank all the medical and nursing staff at St Vincent's Hospital and Cricket NSW medical staff for their great efforts with Phillip. We love you."
Hughes made his international debut for Australia in 2009.

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True pop culture connoisseurs are willing to give just about every genre, series, miniseries, director or film a try. But even though they're just as excited for the new Marvel movie as they are the latest indie from Richard Linklater, or watch both Breaking Bad and The Bachelorette, there's still one genre that most TV buffs are reluctant to sample. We are, of course, referring to the cooking show, likely the preferred Sunday afternoon programming of your parents. But cooking shows are more than just drawn out recipes from stiff, snobby chefs; they're exciting and interesting and sometimes, even dangerous. In an effort to encourage television fiends to expand their horizons even further, we've pulled together some of our favorites and matched them to their pop culture equivalent, so you can find the show or competition that's right for your appetite. Even if you don't find a new addition to your DVR, at least you've got something new to eat during your next Netflix binge.
If You Like Nancy Meyers’ Movies, Try Barefoot Contessa If you’re watching a Nancy Meyers film, you’re probably someone who appreciates a middle-aged romance, a linen pant and an expensive kitchen. Ina Garten’s show is ostensibly about teaching people how to cook delicious, rustic dishes, but it’s really about her beautiful home in the Hamptons, where’s she always throwing together something in her impeccably designed kitchen for an impromptu – but perfectly designed – get together. And since her husband Jeffrey often wanders in to fawn over her, all it’s really missing is Diane Keaton.
If You Like Scandal, Try Semi-Homemade Cooking with Sandra Lee On Scandal, Olivia Pope can solve even the most intimidating, impossible-looking presidential problems with efficiency, and spends a significant amount of time contemplating her life while drinking wine in an expensive cardigan. Sandra Lee does the exact same thing on Semi-Homemade, only the problem is how to turn a bunch of processed, canned foods into something that’s even remotely edible. Unlike Olivia, unfortunately, she doesn't always succeed.
If You Like Channing Tatum, Try Anything with Bobby Flay Channing Tatum has carved out a niche in Hollywood by being good-looking and likable, no matter what kind of film he’s in. Comedy, romance, action, it doesn’t matter – you’re not really there for the plot, you just want to watch a Channing Tatum movie. When you want that kind of comfortable entertainment from your cooking shows, turn to Bobby Flay. It doesn’t matter which show you choose. He has a million of them, and they’re all just as likable and inoffensive as the others.
If You Like True Blood, Try Nigella Feasts Chances are you lost track of the plot of True Blood about three seasons ago and are now just tuning in for the sheer amount of skin on display. What’s Joe Manganiello saying? Who cares, just look at him. If you’re looking for a cooking show that will be equally uncomfortable to watch with your parents, you’re looking for Nigella Lawson, who treats food the way the rest of us treat Alexander Skarsgaard and Ryan Kwanten. What’s she making? It doesn’t matter. Just look at it.
If You Like Glee, Try 30 Minute Meals with Rachael Ray Only a few people have stuck with Glee this long into its run. They’re the kind of people who are willing to ignore just about anything in favor of upbeat dance numbers, familiar characters, and bright colors. They’re also the kind of people who would love 30 Minute Meals with Rachael Ray, another acquired taste. You want questionable dialogue? People talking enthusiastically in the loudest, most theatrical voice possible? Comfortable guilty pleasures? A set designed in shades of tangerine? This is the show for you.
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If You Like Everything Michael Bay's Created, Try Guy’s Big Bite You’re a person with simple tastes: you want loud, explosive action scenes, very little plot, lots of incoherent shouting and as many punching robots as humanly possible. Sure, you might get teased by friends who think they have better sensibilities, but you know you’re not alone in your preferences. Luckily, there’s a cooking show just for you, hosted by the culinary equivalent of Michael Bay – Guy Fieri – in which he makes loud, obnoxious, potentially explosive food that forgoes any kind of subtlety for punching you in the face with flavors.
If You Like True Detective, Try Anthony Bourdain: Parts Unknown This isn’t a straightforward cooking show, but then True Detective isn’t a straightforward murder mystery show. Both feature a complicated, charming anti-hero with a penchant for foul language, who sets out in search of meaning and mystery. it just so happens that instead of solving a crime, Anthony Bourdian is hunting down obscure delicacies. All of the action, adventure, beautiful cinematography, and potential for weird crushes are still in tact, though. Don’t you worry.
If You Like The Hunger Games, Try Top Chef Do you like televised competitions in which one person must outsmart, outwit, and out-maneuver everyone else, please judges who have the ability to bestow gifts and advantages on them, utilize their individual skills in creative ways, form alliances and teams in order to support one another, all in hte interest of coming out on top? The only difference between The Hunger Games and Top Chef is that nobody dies on the latter. Although, someone did cut off a finger once…
If You Like Harry Potter, Try Jamie Oliver For many people, the Harry Potter series was an introduction to a lifelong love of reading, British culture, fantasy worlds and fandom, among other things. Likewise, Jamie Oliver is often an entryway into the world of cooking shows. He’s handsome and charming, easy to follow, and cooks simple, classic meals with all of the manic enthusiasm of Daniel Radcliffe. The first time you ever saw someone make traditional British food? It was probably Jamie Oliver. Plus, like Harry, he’s the star of an epic series of his own, with somewhere between two and 12 shows airing on some channel at any given time.
If You Like Friday Night Lights, Try Chuck’s Day Off As many Friday Night Lights fans know, sometimes the best programs are the ones very few people are watching, and that’s true of the Cooking Channel show Chuck’s Day Off. In this series, our culinary Tim Riggins, Chuck Hughes, takes us through the process of cooking classic, simple food with his laid-back, good ol' boy charm. At some point, before you’re entirely ready, you’ll be done with all the episodes, feeling empty, hungry, and a little bit in love. And like with Friday Night Lights, you’ll spend a significant amount of time trying to convince your friends to give it a shot, promising it’s “not just about cooking, I promise!”
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Actress Mayim Bialik has reunited with her Blossom co-stars Joey Lawrence, Jenna Von Oy and Michael Stoyanov, 19 years after the hit show went off-air. The castmates came together on Monday (16Jun14) to shoot new promotional material for the teen sitcom, which has been picked up for syndication by bosses at America's Hub Network.
The show, about a young girl adjusting to life with her brothers and father after her mother abandons the family, originally ran from 1991 to 1995. Bialik, who now stars in popular comedy The Big Bang Theory, shared a photo of the gang back together on Twitter.com and joked about their youthful appearances.
In the accompanying caption, she wrote, "#blossomreunion thanks to @HubTVNetwork in effect! Um... @joeylawrence @MikeStoyanov @JennavonOy. We still look like young whippersnappers..." Responding to the post, Lawrence tweeted, "So awesome being with u (sic) all again. Feels like no time has passed. Love you all".

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Gita Pullapilly and Aron Gaudet are the married helmers of Tribeca Film Festival's Beneath the Harvest Sky, a gritty glimpse at deep friendship and small town ennui in the backdrop of small-town Maine. The film is a searingly authentic tribute to an area long overlooked by Hollywood's all-too narrow focus on big stories in big places, and one that shows the directors' commitment to truly capturing a subject down its smallest minutiae. We got a chance to talk to the two directors about how married life influences art, why comparisons to Superbad are always welcome, and why the kids of today are in deep need of a good, old-fashioned coming of age film.
I can't remember the last movie I saw that took place in Maine, but the location is a vivid part of this story. Can you explain the choice of setting?
Aron Gaudet: I’m from Maine. We moved to Maine to make the movie. I grew up about four hours south of where the movie took place. And in the 26 years that I grew up and lived there, never went to that area in Maine. Because there’s just potato farms and there’s not a lot to do there. You never had reason. Four hours south and you’re in Boston so you’d always choose south.
What is it about this place that you felt deserved a story?
Aron: We were definitely wanting to make a coming of age movie like we grew up with, like Stand By Me, or The Outsiders or something, and what I knew about northern Maine and the kids in northern Maine is that they turn 18 and they just want to get the hell out of northern Maine because there’s no opportunities there for them unless they’re a farmer or from a farming family. So we just stumbled across these photos of a potato harvest in northern Maine and were like, "Oh, it’s really beautiful up there. Maybe that could be a setting for that kind of story we want to tell." So we just went up there to see what was up there and kind of fell in love with the area and the people and then felt like, okay there’s definitely a great setting for a story.
Gita Pullapilly: And we have a documentary background, so the year and a half we wrote the script, we were researching through the entire period as well, and that really helped us because we could really get a sense of what each of these groups of people were going through and what their backstories were. The illegal prescription drug trade between Canada and Maine, we never would have thought if we just stayed in New York and started writing the story, but by spending so much time and doing the research, we were kind of surprised and taken aback at just how prevalent the illegal prescription drug trade at the time was. It started to weave into the story in a profound way for us.
Aron: Even in pre-production, our location manager who was from there, he had a location for Aidan Gillen’s character’s sort of garage that he was smuggling drugs through. He was like “oh I got this great place” Before we could use it, the actual guy that lived there got arrested for smuggling cocaine through it. So then we were like, "Okay the location is out, but the authenticity is there."
It clearly would have been a good idea.
Gita: Great location manager.
Aron: Things like that would happen where we’re just like “Okay, this is happening up here." It’ s very much based in reality.
Gita: And we were curious what people in northern Maine would think of the movie and we’re blown away by the response because they’re like “You guys nailed what our life is like up there.” It’s almost like the biggest compliment for us because it’s just like yeah we represented that community and there voice as well as we could.
In making a movie that deals with something as serious as illegal drug trafficking, were you hoping to call attention to it, or were you more interested in simply telling a good story?
Aron: The documentarians in us always think, if there are any social issues in a movie, it can at least open discussions about stuff like that. I think, for us, we went up there thinking, okay we’re gonna do a coming of age movie set during a potato harvest, and then there was so much of this stuff happening that I was like “Oh this is part of the story.” And also, the documentarians in us were like, "Okay, this is where the story goes." This is what’s happening here, this is what life is like, so it just naturally became part of the story.
Gia: I don’t know if you saw our first film, A Way to Get By, it’s a documentary. In that film, obviously there are social issues, but even as a documentary filmmakers, we never like to hit you over the head with a social issue. We’ve always felt that the best stories are the ones where you discover things through the story and the audience can make their own assumptions and judgments through what they feel in the movie. that I think in any form of movie that we make will always be with us, just the subtlety. I think subtlety is so much more powerful sometimes than trying to force it down your throat.
Is there anything that you were hoping, specifically in regards to how this sort of lifestyle is affecting the youth, that people take away from this film?
Aron: What we really liked was that it was a unique setting. The story could only happen there, but for the kids, it felt like it was universal for a lot of kids growing up in rural towns anywhere across the country, and the stuff they’re dealing with. You hear about the same sort of stuff in small towns in Vermont or small towns in the Midwest. It’s interesting to me what kids go through as they’re becoming adults, and a lot of times they find themselves in very adult situations, but they’re 17 and they’re still not sure how to best handle them. I think that makes for good drama.
Gia: I love the idea of loyalty and trust, and I think it’s almost in its purest form in those teenage years where you would do anything for your best friend. I think that’s why we resonate with Stand By Me and The Outsiders. It’s that bond that you have with your buddies that you’d do anything for. And we just felt like those movies didn’t really exist right now, of the Twilight movies that exist out there.
Aron: The bond will always be broken when your friend turns into a vampire.
Gita: And we were just like, isn’t it a shame that teens our age, the films that we resonated with, don’t have a film in this time period that can resonate with them as well. That to us was almost like a fond memory of what we had, and we kind of wondered, “Does that exist here, and can it exist in the present?”
Saying that, and I mean this in an entirely complimentary way...
Aron: [Laughs] The way you set up that question...
Gita: Yeah, like, is this going to sound that bad?
I'm going to compare it to a movie, and I just wanted to let you know that I love this other movie. The one movie I thought about after watching Beneath the Harvest Sky was Superbad.
Gita: Oh, yeah! We love Superbad.
Aron: Same casting director. Allison Jones cast Superbad and also cast our movie. Because of their friendship, and the love between two guys.
Both movies feature a romance on the margins, that takes a backseat to the central friendship. And the boys don't know what's going to happen after high school. They want to stay together but they're drawn to different things.
Aron: In many ways, both of them end up really being a love story between friends.
Gita: There’s something about Judd Apatow’s style where he can get comedy across, but the difference between his comedies and other comedies is that they actually have a lot of heart to it, and that’s what we love. More than anything, Beneath the Harvest Sky is about the heart and genuine love of two people together. It doesn’t have to be sexual, it can be a different way... This might be your most crazy interview.
A lot of the romantic relationships in this movie go sour, and that occurred to me as was funny when I found out the two of you are married.
Aron: It makes us feel better about our relationship. We tear down everyone else. Look at all these jerks. We’re still together.
Gita: I think it’s so funny, and maybe because we are married, we know the difficulties of what it takes to be married, and how you have to work tremendously at it. Especially with us, we’re around each other 24/7 and we love being around each other 24/7 but marriage is incredibly hard and I think most people, it’s like you put on a façade of what these relationships can be like to the outside world, but in the real world, when you open the door and you walk inside the house, this is what real complex issues are like, these marriages. I think it can really be seen through these teenage perspectives. Aidan Gillen, what was the relationship with father and son? You know there’s this repairing of a relationship happening, but we kind of hint that there was something else more, and you see what Emory’s mom is like, and we have one scene and that’s all you need to know about what this woman would be like.
Aron: I think a lot of times too, people up there are just trying to survive, and their relationships get sacrificed for survival, and it makes Dominic and Casper’s relationship that much stronger where for them, they put their relationship before everything else. A lot of other characters will sacrifice a relationship trying to survive or trying to get ahead.
Gita: When we started researching and we got up there, the first thing we literally, verbally said when we drove up to Aroostook County was, “How do people actually survive in towns like this?”
Aron: So much industry, like mills, close. There were 200 farm families all farming the land up there and now it’s all consolidated and there’s six farm families. At the high school, there used to be 200 kids that graduated each year, and now there’s like 12. So the population has just nosedived as people just left. So it’s like, yeah how are people surviving? You have to drive an hour to work at Wal-Mart or you’re working on a farm, or you’re not working and you’re dealing drugs. You’re figuring out a way to survive.
Gita, are you from a small town as well?
Gita: I’m from South Bend, Indiana. Home of Notre Dame. But South Bend outside of Notre Dame is actually a small town. There are just these small communities. And like, Breaking Away was another movie that we watched.
Aron: That was definitely a reference film for us, and set in Indiana.
Going back to people commenting on the authenticity of the film, did you have any specific guidelines or formulas for representing the town?
Aron: We definitely scoured northern Maine for places that we felt like felt like northern Maine. Even talking with our cinematographer, when we were location scouting, I said something to the effect of “If we don’t need hand sanitizer when we come out of one of these locations, it’s not real enough.” So a lot of these places we’d come out of, you’re in these dusty potato houses, or you’re out in a field. We wanted that earthy, dirty feel, but from a distance you look at it and it’s beautiful because it’s just rolling hills but you get in there and it’s dirty.
Gita: I think that represents the larger look of the film. From the outside, everything is breathtakingly beautiful, but once you get a better look inside, you realize it’s dusty and dirty, and there’s a lot of breaks and cracks in it.
And then you go to Boston, which is so interesting because usually in films like this, kids are trying to escape to New York or LA. It's cool that Boston is treated like nirvana. I've never seen Boston treated that way before.
Aron: That probably comes from my growing up in Maine because I definitely viewed Boston as, “Oh, if I could get to Boston.” I think in northern Maine, they almost don’t see that far. It’s like if we can even get to southern Maine, or if we can get to Boston, it’s like a whole nother world to them. Boston is an eight hour drive from northern Maine, so even that just seems like a world away, and growing up, it was always like, Boston is my town.
Gita: And if you asked anyone from Indiana, it would be Chicago so we definitely felt that. I remember even when we were dating, because we actually worked in television news before we actually started doing film, and we were living in Grand Rapids, Michigan, and we were trying to figure out where we wanted to make our next move and live, and Aron was like, "Boston has always been my dream," so we moved to Boston.
Beyond bringing the genre to the present, was there anything about the teen genre or the coming of age story that you thought had been lacking, even in the films you love, something you wanted to get in touch with in Beneath the Harvest Sky?
Aron: Well even some of the better coming of age movies that have been coming out recently, it seemed like it was always a throwback to a John Hughes movie, which we loved growing up too, but that’s different than Stand By Me or The Outsiders or Breaking Away or At Close Range. Some of those ones that are a little darker. So for us, that was something that we felt like was lacking. Can we go a little darker with it? Through the research, this is darker. What they do up there and everything, it’s not a John Hughes movie, it’s different than that, so that was something that appealed to us. The darker teen movie.
Do you think these movies are relatable to all kids, even if they didn't have these elements of crime influencing their lives growing up?
Aron: I do, but any small town kid, they’re going to a party in a gravel pit or doing that sort of stuff there. That sort of harvest farming with friends. I’m sure in towns all across the Midwest, on their breaks from school, they’re doing some sort of farm labor so some can relate to that.
Gita: Even in present day, something like the vodka tampon scene for example. That we discovered in Maine and then we read it in the script and were like “This is really crazy,” and we talked to law enforcement to find out if it actually happened. Then we found out in the Midwest that there’s people doing the same thing. Word of mouth spreads with teens very quickly apparently.
What did you see in your two leads, Emory Cohen and Callan McAuliffe?
Gita: They’re brilliant actors and they have very different talents of how they get their performances out there.
Aron: Their processes couldn’t be further apart from each other, which was interesting to see them work off of each other. Emory was Casper 24/7. We never met Emory until we wrapped production. He was always Casper. Callan was very much “I’ll give you what’s in your script.” They were at opposite ends of the spectrum, but together they were so great. If you talked to them together, they were like a comedy duo. We just loved them hanging out together. They would genuinely make each other laugh and stuff on set and really did form this friendship that played well in the movie.
Gita: They’re both very talented and people consider this to be their breakout roles in a lot of ways so we’re really excited to see what they do next and we also hope that they just continue working with us.
Beneath the Harvest Sky is available on VOD, Amazon and iTunes.
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Writer-director John Hughes was the master of the teen movie in the '80s, scoring hits with The Breakfast Club, Ferris Beuller's Day Off, and Weird Science, and working with a veritable "who's who" of young '80s actors (Matthew Broderick, Kevin Bacon, Robert Downey Jr., John Cusack, Bill Paxton, Charlie Sheen, etc.).
His teen muse, however, was Molly Ringwald. The young redhead was the star of his directorial debut, Sixteen Candles, and was the inspiration behind Pretty in Pink, which Hughes' wrote and produced. It's been 30 years since the release of Sixteen Candles and 28 since Pretty in Pink, yet each movie has maintained an audience across the decades. Which one, though, is more relevant if you were seeing it for the first time right now?
Sixteen Candles
Ringwald's Samantha Baker is having a terrible 16th birthday. Her parents forgot it entirely. Her grandparents, who are in town for her sister's wedding, are commenting about her "boobies" and bring along a horndog foreign exchange student (Gedde Watanabe). She's got a freshman geek (Anthony Michael Hall) chasing after her, and in exchange for leaving her alone takes a pair of her panties to show off to the other nerds... for a dollar apiece. Worse than all of the other indignities, though, is the fact that she's totally in love with a senior (Michael Schoeffling) who's dating the most popular girl in school (Haviland Morris).
In other words, it's just about every teen girl's worst nightmare, something that really hasn't changed much in the ensuing years. The film is fanciful and fun, with jokes that are both clever and corny. It's the sort of movie that provides mothers and daughters talking points for everything from love to sex to body image issues. Feeling like you're completely on your own as a teenager and that nobody really cares about or appreciates you is a rite of passage for everyone, as are those first heart-stopping crushes. Youthful insecurity is fairly timeless.
Pretty in Pink
Hughes took a (slightly) more grounded view of a young girl's high school experience in Pink. Ringwald plays Andie, a girl from the poor side of town who makes her own clothes and has to take care of her down-on-his-luck father (Harry Dean Stanton). She works in a music store and hangs out with an eccentric friend named Duckie (Jon Cryer), as she tries to just make it through until she can go to college for fashion design. But then she falls for one of the rich kids (Andrew McCarthy), and has to deal with the very obvious class distinctions that are continually pointed out by his obnoxious friend (James Spader). Unlike the lead in Sixteen Candles, Andie doesn't need recognition from anyone, definitely doesn't want to be pitied ,and is perfectly capable of standing up for herself. She's conscious of Duckie's feelings, but she neither patronizes him nor leads him on. When McCarthy's Blane backs out of their prom date, she goes it alone (and, okay, with a little help from the Duck).
Essentially, Andie is that quiet girl in high school who blossoms in college and doesn’t go to reunions because she's too busy with a great career. It's a little hard to get past the very '80s wardrobe, although it has a killer soundtrack (OMD's "If You Leave" still makes anyone over 40 nostalgic for their own prom). In the end, though, Andie is a realistic teen heroine who, unlike say Jennifer Lawrence in The Hunger Games, navigates through a world that is not terribly different from the present and does it by empowering herself. That's not a bad lesson for any young woman to learn.
Both of the teen classics have relevance to a modern audience in their own way, although the jokiness of Sixteen Candles probably helps it translate a little bit easier. That’s what we think, but now it's your chance. Vote below to tell us which of Hughes' teen comedies has remained more relevant.
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DreamWorks
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody &amp; Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
DreamWorks
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody &amp; Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
3/5
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Summit Entertainment
Alongside Hollywood veterans Kate Winslet, Ashley Judd, and Tony Goldwyn and two young leads (Shailene Woodley, Theo James) who have already built up quite the impressive C.V., Divergent's ensemble cast also includes several virtual unknowns. Here's a brief guide to their careers so far.Ansel Elgort (Caleb)
The son of fashion photographer Arthur Elgort, 19-year-old Elgort's career began on stage in Matt Charman's off-Broadway drama Regrets. After making his big screen debut as Chloe Moretz's prom date in last year's Carrie remake, the New Yorker landed the role of Tris' inquisitive brother Caleb Prior. Elgort will then make the switch from playing Woodley's sibling to her love interest when they both star in the adaptation of John Green's best-selling novel, The Fault In Our Stars, while he's also set to appear in Jason Reitman's star-studded comedy Men, Women and Children.
Amy C. Newbold (Molly)
Amy C. Newbold is no stranger to the Hollywood blockbuster, having worked as a casting assistant on Superman reboot Man Of Steel as well as on the likes of Contagion and Raising Hope. But as Tris' factionless enemy Molly Atwood, Divergent will see her move from behind to in front of the camera for her first major acting role, with bit parts in Boss and Chicago Fire the only other credits to her name.
Ben Lamb (Edward)
Cast as skilled fighter Edward, Ben Lamb made the move to post-apocalyptic Chicago from medieval England after playing The White Queen's brother Anthony in the BBC's hit historical drama. The 25-year-old, who'd previously studied at both RADA and Oxford University, cut his teeth appearing in various Shakespeare productions and made his onscreen debut as a posh toff in BBC legal drama Silks in 2012.
Christian Madsen (Al)
One of the more experienced "unknowns" in the cast, Christian Madsen has appeared alongside his father Michael in deliverance tale Refuge from the Storm and off-kilter thriller The Brazen Bull and his auntie Virginia in comedy Jake Squared, while he also had a minor role in Justin Timberlake vehicle In Time. Cast as kind-hearted Al, he'll next be seen as Bryan, a young man who reunites with his estranged father after 15 years in the indie drama Prism.
Ben Lloyd-Hughes (Will)
Following his older brother Henry's role in Harry Potter &amp; The Goblet Of Fire, the Lloyd-Hughes name will appear in the credits of another major franchise when 25-year-old Ben plays Tris' brainy ally Will. He first appeared on screen as a teenager in BBC drama Love Soup back in 2005 and has since cropped up in a string of hit British TV shows including Skins, The Hour and Young James Herriot. While his filmography includes teen horror Tormented and the 2012 remake of Great Expectations.
Divergent hits theaters March 21. You can check showtimes and purchase advanced tickets at Movietickets.com.
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Columbia Pictures via Everett Collection
For many of us who grew up in the 1980s, hearing that Harold Ramis died was a hard one. We'd seen so many of those movies that he'd either had a hand in writing, directing, or acting in: Meatballs, Caddyshack, Animal House, Stripes and Ghostbusters, just to name a few. It was one hell of a run right there, added to the fact that he also helmed the '90s classic Groundhog Day.
Ramis was the perfect foil for the more blustering types that appeared in his films: Dan Aykroyd, John Belushi, Chevy Chase, and Bill Murray were the big four. They were the ones who had all the wild and wacky things happen to them, while the nebbish Ramis hung in the background, or even sometimes stood in for a prop: Remember when he was a human buffer in the fight in the barracks in Stripes? Having to hold back a violent John Candy should earn anyone some hazard pay, acting or not.
Alongside these alphas, Ramis conveyed a kind of genial warmth in whatever project he was in. His turn as the laid-back father of Seth Rogen in Knocked Up was a bit of an existential moment: Egon was a dad now, ready to become a grandfather. Just like a good majority of us '80s kids who were having children of our own.
What made all of the aforementioned movies so great was not only their endearing zaniness, but the intelligence in the humor as well. There was never the feeling that Ramis was pandering to the lowest common denominator to mine some laughs. Sure, there were goofy moments, like Belushi's Bluto Blutarski starting a food fight in a college cafeteria, but the set-ups were exquisite. Additionally, Ramis projected an everyman persona on the screen — he wasn't terribly photogenic, with his Frankensteinian hair, glasses, and gap-tooth smile. He looked like any of us on the street (especially if you were high school valedictorian). His movies just always made you feel like you were sitting with an old friend who could always make crack you up.
Many years later, that feeling persists. The magic of Ramis' films is that I'm able to become young again when I rewatch Ghostbusters or Animal House for like the 40th time. And although we may have lost him, I like to imagine Ramis is talking somewhere with other great filmmakers who died too young — say, Jim Henson and John Hughes — and coming up with one heck of a movie. The Muppets Take Groundhog Day? It's one I'm sure that I would watch over and over.
Rest in peace, Harold. Thank you for everything.
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